Tuesday, October 29, 2019

The 1986 Listening Post - Concrete Blonde - Concrete Blonde

Concrete Blonde - Concrete Blonde



#72/1239
February 1986
Concrete Blonde
Concrete Blonde
Genre: Rock
3.75 out of 5



Highlights:
Your Haunted Head
Still in Hollywood
Over Your Shoulder



I haven’t heard something like this since 45 Grave. This is the first, most assured, straightforward, non-pop rocker by a female led band that I think we’ve heard. By that I mean, it isn’t cheeky or cute, it isn’t gimmicky and doesn’t try to fit in that lane. It’s got muscle and edge and I put that on Johnette Napolitano. I used to get Concrete Blonde confused with 4 Non Blondes and Blonde Redhead and then I just never bothered. 
This is an unexpected trip as I wasn’t expecting this kind of dank rocking sound from 86. “Still in Hollywood” sounds like an X cover band. And I don’t say that like it’s a bad thing. I miss that sound. A sound that will come back with the ill-fated Betty Blowtorch and shit…I’m sad about Bianca Butthole now.

This album sounds like a band that will come into it’s own during the next decade. Either they are leading that charge or just happen to be in the right place at the right time. 



The 1986 Listening Post - Red Box - The Circle and the Square

Red Box - The Circle and the Square



#71/1238 LISTENING POST ADMIN DISCOVERY
1986 Housekeeping
Red Box
The Circle and the Square
Genre: World Rock
4.75 out of 5


Highlights:
For America
Billy’s Lane
Bantu
Lean on Me (Ah-li-ayo)
Walk Walk


Here we go. This is the familiar tones of 80s rock. Big sounds, global concerns, world music influenced, somewhere in the Venn Diagram of Tears for Fears, Dexys, U2 and even Genesis and Midge Ure and Bowie and XTC and…is there a touch of…Philip Glass in here? It’s all so very “important” but it works. 
If I was managing them, I’d be getting Imagine Dragons to cover something like “Billy’s Lane”. Give them a connection to the older generation and, subsequently, just a wee bit more longevity (or commercial sell out cred). Or is that just an opportunity for me to drop a contemporary name so I can sound like I know what the fuck’s going on in music today? 
This is a terrific relic from this decade. 


The 1986 Listening Post - Fuzzbox - Bostin' Steve Austin

Fuzzbox - Bostin' Steve Austin



#70/1237
1986 Housekeeping
Fuzzbox
Bostin’ Steve Austin
Genre: Garage Rock
3.5 out of 5


Highlights:
Love is the Slug
You Got Me
Rules and Regulations



I am sort of shocked that Fuzzbox never appeared on a Quentin Tarantino soundtrack. They feel like a band that he would love. 
The original name of this group is We’ve Got a Fuzzbox and We’re Gonna Use it and I am here for that shit.
This is the 5-6-7-8’s meets the Go Go’s. They are the spiritual cousins of The Gymslips and I love every second of it.
Every song starts off with spectacular promise, lacerating guitars and energized baselines and then, for some reason, devolve into something less exciting. And I can’t explain it. 
Oh, well. I guess there’s a reason Fuzzbox never caught on. 


The 1986 Listening Post - The Cynics - Blue Train Station

The Cynics - Blue Train Station



#69/1236
1986 Housekeeping
The Cynics
Blue Train Station
Genre: Garage
3.75 out of 5

Highlights:
No Way


It’s amazing that in 15 years or so, this sound is gonna explode via The Hives, The White Stripes, The Vines and a host of other garage revival bands. 
The Cynics seem to have more in common with The Fleshtones and The Chesterfield Kings and all the bands that should all have been featured on Ray Dennis Steckler movie soundtracks. 
It’s definitely a fun sound when you want to hear it but it’s not really moving anything forward. I don’t know why this works so well a decade and a half later but I guess we’ll have to get to the 00s to find out. 


The 1986 Listening Post - The Cramps - A Date with Elvis

The Cramps - A Date with Elvis



#68/1235
February 1986
The Cramps
A Date with Elvis
Genre: Psychobilly
3.25 out of 5

Highlights:
Cornfed Dames
Hot Pool of Womanneed



“The Hot Pearl Snatch”?
“Can Your Pussy Do the Dog”?
“What’s Inside a Girl”?
“Kizmiaz”?!?
“Hot Pool of Womanneed”??

No one could ever accuse The Cramps of subtlety. Or not trying to be the Howard Stern Show of Psychobilly. They must have been guests at some point, yes? Boomers be working out some weird shit, man. 

I was never much for the style of rock music that seemed to watch The Munsters and decide, “Yep. That’s it. That’s the pinnacle for the art form for me.” Even The Stray Cats managed to find a way to expand the sound. (They weren’t very successful at it but, at least they seemed to try). 
Now there’s something to be said for Lux’s commitment to this genre. And his warble. Which alone is the reason to listen to “What’s Inside a Girl”. In fact, it’s the only reason. He’s a 1960s Hanna Barbera cartoon version of Elvis Presrock. 
I want this to be so good. I mean, come on, look at their band name design. It’s right out of Fangoria. They belong on a bill with The Fleshtones and The Misfits. You know who would be a good double bill?! Jonathan Richman. If I could have, I would’ve teamed them up for a record. 

It’s just that it all leaves me wishing it was better. 


The 1986 Listening Post - The Comsat Angels - Chasing Shadows

The Comsat Angels - Chasing Shadows



#67/1234
1986 Housekeeping
The Comsat Angels
Chasing Shadows
Genre: Rock
4.25 out of 5

Highlights:
The Thought That Counts
Lost Continent
Flying Dreams




Welp, Comsat Angels must’ve gotten the message that 7 Day Weekend was a giant pander cuz this is not that.
Moody, melodic, dark and anthemic and maybe I’m crazy but I feel like Placebo listened to this record. 
It’s not something I would return to but I could walk barefoot in my backyard on a cool, damp California Autumn night and transport with this thing. 
It’s a shame that this thing doesn’t really explode until late with “Flying Dreams” but it’s a nice journey that pays off. 
It won’t change your life but, if the last album was your introduction to The Comsat Angels, as it was mine, it will change your opinion of them.



The 1986 Listening Post - Toxic Reasons - Bullets for You

Toxic Reasons - Bullets for You


#66/1233
1986 Housekeeping
Toxic Reasons
Bullets for You
Genre: Punk
4.25 out of 5

Highlights:
Get Out the Gun
Killing the Future
Party’s Over


Toxic Reasons are back but this time they have amped up the speed shredding to their thrash punk. Which means they sound like Black Flag meets any number of speed metal bands.
It sounds like it was recorded for $1.25 and that’s a shame because the edge is almost 80s underground radio friendly. Lord knows the lead solos are actually not bad, for some reason it reminds me a bit of Burning Brides. 
Toxic Reasons wear their influences on their sleeves, they want to be The Damned and the Clash and the Sex Pistols and we all know that moment has passed but on Bullets for You they find the melody that I felt was lacking in the past. In fact, toss some ska in there and they could be Rancid. 
So much better than I expected (dreaded) it would be.





The 1986 Listening Post - Always August - Black Pyramid

Always August - Black Pyramid



#65/1232
1986 Housekeeping
Always August
Black Pyramid
Genre: Psychedelic Garage
2.25 out of 5

Highlights:
Spacin’ Out




So, I’m listening to this weird ass, piss poor produced wanna be Grateful Dead hooey and I look it up on Wikipedia and what to my wondering eyes should appear: Greg Ginn’s name. These guys were produced by Ginn and we all know that Ginn is the worst thing to happen to music since ever.
Okay okay, I know. But, boy those Black Flag records were interminable. Until D.C. 3, that is. 
But this is…man…can anyone here actually play their instrument?
What a mess. This is what you get when someone says, “The Dead? I can play that shit!” and they totally can’t. 


The 1986 Listening Post - Algebra Suicide - Big Skin

Algebra Suicide - Big Skin



#64/1231
1986 Housekeeping
Algebra Suicide
Big Skin
Genre: Minimal Experimental
4.25 out of 5


Highlights:
Little Dead Body Poem
Seven Song
Please Respect Our Decadence


I had two records that, for me, define a part of the 80s that don’t get a lot of credit for their influence but I believe they were seminal works of art.
The first was a must-have album after the surprise New Wave success of her single, “O Superman”, Laurie Anderson’s Big Science barely needs a mention because, well, who doesn’t know Big Science? 
You?
Stop what you are doing and go listen to it, stat. I can not stress it’s importance enough. Also it’s humor and weird re-listenability.
The other was a record I’ve written about before. One that got such a good review in the Star-Ledger that I never forgot it and, a year after reading the review, was compelled to call the paper and talk to the reviewer and track it down. It was by a New Jersey band called Xex. The album was Group: Xex. The first real indie-synth album replete with sardonic humor and band member names like “Was Pierogi” and “Thumbelina Guglielmo”.
It makes sense that Algebra Suicide would exist in those shadows. But, Lydia Tomkiw seems to be focusing on the burbling Velvet Underground elements of those records, which are so deeply hidden that they are so obfuscated by what they were able to twist that idea into. And he is wearing her disturbed conditions on her sleeve as in “Little Dead Body Poem”.
She’s much more Anne Sexton than Laurie Anderson. 
I bet if I had this cassette I’d have loved it, tho. I had a thing for dark and depressed women for a while. 
Did any of this make you want to listen? I hope so. Just to know it was there. 
RIP Lydia





The 1986 Listening Post - Animotion - Strange Behavior

Animotion - Strange Behavior



#63/1230
February 1986
Animotion
Strange Behavior
Genre: SynthPop
1.75 out of 5



Highlights:
I Want You


Am I off base? Is there a song about statutory rape (or preference for) on this record? Tell me if I’ve read this wrong. (Lyrics at the bottom)

If not for this project I would never have known that one my favorite 70s songwriters/producers, Mike Chapman, one of the best female songwriters, Holly Knight and Elton John lyricist Bernie Taupin had collaborated on…well…anything. I have no idea how this collaboration happened but the result, “I Engineer” is unworthy of any of their respective talents. Really trite claptrap. It’s maybe a 2 star song but points must be subtracted for the pedigree that soiled themselves on this 4th rate-4 years too late piece of garbage.
With a track like “Anxiety” it’s pretty much assured that, had they stuck around, I’m pretty sure Animotion would have gotten to all the neurological disorders. It was only a matter of longevity that would get them to a song called, “Narcissistic Personality Disorder”. 

In 1986 Animotion is still pimping out a sound that was so quickly delivered to redundancy that almost all of the purveyors like Soft Cell had called it quits way before. Someone should have gotten them a memo. 


Points way off for the lyrical content of “The Essence”:

Every man has a hunger
It can overcome the strongest will
Especially if the woman is younger
And she has a tender dream to fill
Youth and beauty have a magic charm
And it's so hard to leave her alone
But like the blazing fire in Medusa's eyes
She can turn a man into stone

Reaching for the essence in a younger woman's heart
Knowing adolescence is the finest form of art

Back in the days of cavemen
Women learned how to capture power
By taking back what they often gave men
The sweet nectar of a passion flower
The powerful prince that owned your lands
Could determine if you live or die
But he'd get down upon his knees and hands
If the princess would only fly

Reaching for the essence in a younger woman's heart
Knowing adolescence is the finest form of art
Reaching for the essence in a younger woman's heart
Glowing with fluorescence she's a neon candle in the dark


Youth and beauty have a magic charm
And it's so hard to leave her alone
But like the blazing fire in Medusa's eyes
She can turn a man into stone

Reaching for the essence in a younger woman's heart
Knowing adolescence is the finest form of art
Reaching for the essence in a younger woman's heart
Glowing with fluorescence she's a neon candle in the dark


https://www.youtube.com/watch?v=RI_nj8WzkDA&list=PLGPGfyGlEcoa3ZSN2g3EWd26X9-QhlvxY

The 1986 Listening Post - Samhain - Samhain III: November Coming Fire

Samhain - Samhain III: November Coming Fire



#62/1229
February 1986
Samhain
Samhain III: November Coming Fire
Genre: Horror Punk
4.25 out of 5

Highlights:
Let the Day Begin
Halloween II
Kiss of Steel


You know what? I like this better than the Misfits records Danzig put out and I know, I know, they are really influential but I felt that they were a muddy, ugly mess. This one sounds to me like Jim Morrison fronting an early 70s sludge metal band but amped up on just enough cocaine to speed up the sludge while auditioning to be the soundtrack for a WWF (WWE?) tv show. 




The 1986 Listening Post - Jonathan Richman and the Modern Lovers - It's Time For...

Jonathan Richman and the Modern Lovers - It's Time For...


#61/1228
February 1986
Jonathan Richman and the Modern Lovers
It’s Time For…
Genre: Independent Rocking
3.75 out of 5

Highlights:
It’s You
Just About Seventeen



How does Jonathan exist? Is he a time traveler from the past stuck 30 years in his future and just decided to make the best of it? But, like, he’s not a musician from the 50s. Nope. He’s a guy who loved music and could play a pretty okay guitar and probably went to sock hops and had trouble dating but seemed like he was gonna have a pretty nice, pedestrian life and then, whoop, he was transported to the future and knew how all those songs went so he just wrote his own stuff running it through the taffy machine of what he was weaned on and then made an entire career out of being stuck out of time but coupled his innocence with his earnestness and just…kept going. 

This album is cute. It’s not as explosively fantastic as the last one. I feel the same way about this as I have about most of Jonathan’s work. I never want to return to it but, I imagine, if I was a big fan, I would sing along with “Double Chocolate Malted” or “Neon Sign” and not mind the insipidity. In fact, I would revel in it. 


The 1986 Listening Post - Nazareth - Cinema

Nazareth - Cinema



#60/1227
February 1986
Nazareth
Cinema
Genre: Arena Rock
3.5 out of 5

Highlights:
Other Side of You


The Mutt Langeing of Arena Rock is in full swing on this latest offering from a band whose best days were a half decade + in the rearview. Just listen to that Def Leppardized opening track. Whew. That is some over production of mediocrity. But it’s candyfied enough that I kind of like it. 
These guys know how to do this so they do it. Are they adding anything to this blues rock, riff-laden genre? Nope. But they do it with gusto. Considering the nadir of AC/DC’s output at this time, I kind of like & miss this sound.



The 1986 Listening Post - Camper Van Beethoven - II & III

Camper Van Beethoven - II & III



#59/1226
February 1986
Camper Van Beethoven 
II & III
Genre: West Coast Pot Smoking Violent Femmes Klezmer Rock
4.5 out of 5


Highlights:
Sad Lover’s Waltz
Down and Out
Goleta
We’re a Bad Trip
Chain of Circumstances
Cattle (Reversed)


CVB takes the weird instrumentation to a new level with the inclusion of Klezmer music and I’m left thinking: What the hell is this? It’s not rock, but then it is, but then it’s folk and then it’s ramblings and then it’s klezmer. Sometimes they play “rock” but I think that’s either to appease someone in the band or just to prove they…can?This is it’s own thing and it sounds like what I can only describe as a bunch of musicians who have other careers and play music together to help blow off steam from their dayjobs. 

Now, I know that isn’t true but, man, it feels like it to me. They aren’t as drunk as The Replacements but, give em a few drinks and I bet they could give Westerberg a run for his money.







The 1986 Listening Post - The Apostles - Punk Obituary

The Apostles - Punk Obituary


#58/1225
February 24 1986
The Apostles
Punk Obituary
Genre: Post-Everything
I honestly don’t know how to rate this.
4.5 for the breadth and honesty of it?
3.5 for the actual content?
3 cuz 3.5 was being generous?
Someone? Anyone? 

Highlights:
Thalidomide
Workers Autonomy
Daze of the Week
New face in N16




In a lot of ways I’m glad that the auto-bio on the YouTube page reference The Pop Croup because that’s what this reminds me of, in a way. 
As much as Swans take themselves seriously, this is the sound of mental illness forcing itself into reconciliation through music. 

I have C&P’d the lead singer/writer’s YouTube notes for I feel that they are more relevant than anything I can post here. 

Also, it seems that, somehow, these guys put out THREE records in 1986. Color me impressed. 

Look, these are what it sounds like when you have access to recording equipment, have no discernible talent but feel like you have something to say. Andy says they weren’t “punk” but, if that’s not punk I don’t know what is. 







It was Mortarhate, the record label run by a punk group called Conflict, who financed the pressing and printing of our 1st album. We’d never be able to afford to release it ourselves – even producing 7” records required considerable financial stress and strain. This is ironic since we sought to place as much distance between ourselves and the punk movement as possible. None of us were punks, after all!

Mind you, by 1985 the group was a duo (myself and Dave Fanning) but during this period many people wrote to us (well, to Dave) to express their interest in our work. One of these was multi-instrumentalist Patrick Poole who agreed to play drums on 5 tracks where my own feeble ability simply couldn’t achieve the desired result.

We made quite ludicrous demands upon thetime and resources of Mortarhate: we insisted upon a gatefold sleeve plus separate printed inserts, 1 for the lyrics and 1 for another of my tedious rants about this, that and the other. That they indulged our adolescent fantasies is astonishing. Unfortunately their generosity cost them dearly – hardly anybody purchased the record once word spread along the mutter line that our album consisted primarily of blues, ineptly played attempts at progressive rock and a few folk influenced pieces.

The title we awarded to the album, Punk Obituary, was intentional. Punk rock was moribund and utterly irrelevant to us. Dave was listening to The Mahavishnu Orchestra, King Crimson, Wire and Alternative TV at this time while my primary musical interests included The Lemon Kittens, Five Or Six and The Pop Group. God knows what Patrick thought of us. Certainly he shared with me a degree of enthusiasm for right wing politics although he never expressed any sympathy for racial prejudice. Breaking Barriers is a rare example of one of my lyrics set to music by Dave. The Thrive Alive Jive contains an extended quotation from a traditional Chinese theme UNIT would resurrect on Chinese Youth in 2001 and 2011. The Hunt is actually a metamorphosis upon Pete The Plectrum complete with a bass guitar solo (played through a wahwah pedal no less). What the record sleeve credits as ‘Part 1’ is actually Erics’ Detachables so I decided to restore the original title...because it’s correct!

By this stage, Dave became the acceptable face of The Apostles. Very few people wrote to me or sought my company – not that I blame them, to be honest. Look, I was emotionally unstable and mentally unbalanced. I had yet to recover from nearly 5 years of constant abuse, ridicule, intimidation and humiliation in Amery Hill School (previously called Alton Secondary School) plus 11 years of similar maltreatment from my mother and stepfather. Only 3 months after my expulsion from school in 1980, the family moved back to London and I was admitted into Springfield Psychiatric Hospital after a suicide attempt. My personality is akin to a rhinoceros with a headache. Subsequent claims I have improved since then may prove premature.

Oh Death

Text & Music – Tony McPhee. Arrangement – Andy Martin.

Andy Martin – Vocals.
Dave Fanning – Guitars.

Thalidomide

Text & Music – Andy Martin.

Andy Martin – Vocals.
Dave Fanning – Guitars, Bass Guitar.
Patrick Poole – Drums.

The Patient

Text & Music – Andy Martin.

Andy Martin – Vocals.
Dave Fanning – Guitars, Bass Guitar.

Breaking Barriers

Text – Andy Martin. Music – Dave Fanning.

Andy Martin – Vocal, Drums.
Dave Fanning – Vocal, Guitars, Bass Guitar.

Our current group UNIT have recorded 31 albums between 1999 and 2017. Over 420 of our tracks are now available on You Tube. Type UNIT Andy Martin into You Tube and it will take you to these tracks.

In 2016 I was made redundant by Hackney Council and, officially classified as ‘unemployable’, I have not been able to secure any other job. Consequently, UNIT can no longer afford to record new material at present. Donations to our finances can be made at ctmurrell@uclan.ac.uk.

I also have 8 books now currently available. These are proper books in print, not fake, ersatz ‘books’ you see advertised on the internet these days as ‘e-books’. They are all available from lulu.com.

 https://www.youtube.com/watch?v=9cVlEwIcZ4I&list=PLBJ7ztNazTVAeHs-3Ge373YuDfrMiC6EH

The 1986 Listening Post - Dennis DeYoung - Back to the World

Dennis DeYoung - Back to the World


#57/1224
February 24 1986
Dennis DeYoung
Back to the World
Genre: Schmaltz Rock
2 out of 5



 I thought I recognized “This is the Time” and then I looked it up and, sho nuff, crap rock from crap movie Karate Kid 2. Ugh, the 80s. 
This kind of stuff reinforces the theory that it was Shaw and Young, et al, who tempered DeYoung’s Vegas inclinations. Much like Brian and Roger provided the rock to Freddie’s Chanteuse. Except that in the case of the latter, Freddie understood theater and the glory of spectacle. Dennis seems to have grown up with a different theater. Freddie was about “theatrics”. Dennis wants to be on Broadway. 
And Broadway has no edges. It softens all of those and dulls them to the point of being absolutely inoffensive. 
The stuff that made Styx a top 40 band was a hybrid of the edge and Broadway. DeYoung runs screaming from the edge and this is the pap we get. 
I listened to this whole thing. So, now you are obligated to listen to the SIX MINUTE AND THIRTY TWO SECOND “Unanswered Prayers” as penance.
6
minutes
and
32
seconds.
And then…we get…anti war…anti-Vietnam song? (“Black Wall”) He gets close to listenable right near the end with “I’m So Lucky” but, it’s unmemorable. And right at the end he harkens back to his Styx days with “Person to Person” which should have been up top and then he should go back to Styx. 

How many words have I spent on this terrible record? I need a shower. 
Crazy that this album is no longer available for purchase anywhere. 

 https://www.youtube.com/watch?v=pfpjYAILZf4&list=PLBJ7ztNazTVCxL_rmMB0e-ugA7fr7FrCu

The 1986 Listening Post - Swans - Greed

Swans - Greed



#56/1224
February 28 1986
Swans
Greed
Genre: Industrial Noise
2 out of 5


Highlights:
Greed


I’m glad I listened to this because it gives me a chance to correct a previous review of Swans material.
The member of the band that my college girlfriend dated (and with whom she gifted a threesome with her best friend…ugh) was the bassist and not the drummer.

Ok. 

As for the music.

I’ve mentioned before that I don’t know why anyone would listen to this unless they were soundtracking a BDSM event or scoring a domination/submission orgy scene in a movie where the music supervisor lacked any nuance. And then I had conversation with a friend, a superior musician whose music is very ambient and somewhat dark and he named off about a dozen bands like Swans whose music he puts on to relax.

!

So, there is something for everyone.

This is that something. 
I am not that someone. 

OMG, someone give Michael Gira a fucking hug. 



https://www.allmusic.com/album/greed-mw0001883300

The 1986 Listening Post - Manilla Road - The Deluge

Manilla Road - The Deluge



#55/1222
February 25 1986
Manilla Road
The Deluge
Genre: Devil Metal
2.25 out of 5


The lead singer’s forced vibrato coupled with his determined earnestness makes this the closest rock and heavy metal comes to actual opera. I have no idea what’s going on and there’s nothing to hold on to. 
Honestly? I was just bored numb. 
This is the second time in a row that Manilla Road has left me wanting and I can safely say that’s how I feel about the whole genre at this point. 


The 1986 Listening Post - Ozzy Osbourne - The Ultimate Sin

Ozzy Osbourne - The Ultimate Sin


#54/1221
February 22 1986
Ozzy Osbourne
The Ultimate Sin 
Genre: Radio Friendly Metal
2.75 out of 5


Highlights:
Thank God for the Bomb
Shot in the Dark


Why would you put the single at the end of the record? Is it because it kind of doesn’t sound like anything that would appeal to the heavy metal parking lot denizens? 
I like Ozzy’s voice. But, it’s a great metal voice cuz he can actually, you know, sing, but he seems so divorced from the material that the entire thing feels like a Ratt album with Ozzy singing lead. 
Killer of Giants gets a bit majestically epic but it’s supposed to. Like it was convicted in a studio with execs saying, “we gotta appeal to the D&D mullet heads.”


The 1986 Listening Post - Wendy O. Williams - Kommander Kaos

Wendy O. Williams - Kommander Kaos



#53/1220
February 21 1986
The Plasmatics (Wendy O. Williams)
Kommander Kaos
Genre: Metal
3.75 out of 5


Highlights:
Hoy Hey (Live to Rock)
Ain’t None of Your Business (Live)
Work That Muscle (Fuck That Booty)

Imagine what this might sound like if it was produced well. Might. Operative word.
I loved Wendy. Not her voice or her stage persona or really anything that she ever did publicly. I loved what she was. A staunch middle finger to just about everything. She basically ushered in the era of Jerry Springer all by herself. She was what Wrestlemania wanted to be, dressed up in nipple covering gaffer’s tape and a growl that made Joan Jett sound like Celine Dion in comparison. 
My heart broke for her when I learned of her suicide. But I bet the only kind of person who could do or be something like Wendy (a female GG Allin in a way, much less scatological and much more accessible) had some deep seated demons to wrestle with. 
I really wish this didn’t sound like it was recorded in the Holland Tunnel. 
I’ll take her storytelling on “Ain’t None of Your Business (Live)” over any heartland Springsteen story, any day. 


The 1986 Listening Post - Elvis Costello - King of America

Elvis Costello - King of America



#52/1219
February 21 1986
Elvis Costello
King of America
Genre: Hodgepodge 
4 out of 5 


Highlights:
Brilliant Mistake
Glitter Gulch
Indoor Fireworks

My god this album is long. I forgot just how long. It doesn’t need to be this long. I haven’t listened to it in years. This is the T Bone Burnetting of Elvis Costello. 

I’ve never done this. Not fully. I have, on small occasion, quoted my own review of an album that I covered in the past. 
After listening to this record I went back to read what I wrote 10 or so years ago. 


“After taking a year off to get divorced and maybe relax, Costello returned with King of America in the mid-80s. It's his, what, tenth studio album in about as many years? It's also his most sedate. It can rock, don't get me wrong, “The Big Light” shimmies and shakes due to some excellent country skiffle drumming by Mickey Curry, but this, the first album where The Attractions are not the only musicians but supported by a bunch of others calling themselves The Confederates. It is also the dullest.

Not to say it's “bad”. It's just so...adult. As opposed to the maturity on Imperial Bedroom, which was matched by the teeth of an angry, semi-young man, Costello just sounds toothsome.

“Eisenhower Blues” and “Jack of All Parades” sound...hmmm...as I write this I realize what I am reminded of:

Bruce Springsteen's Tunnel of Love. Both came out within a year of each other. They are both the subdued voices of once vigorous rockers.

There are high points, most notably the album opener, “Brilliant Mistake” (Which is similar to the title of a song on Springsteen's Tunnel of Love) and I kind of like the cover of “Don't Let me Be Misunderstood”. But the rest of this record is easy listening Costello, at best. This album also represents the ascendency of Mitchell Froom.

Now, I love Mitchell Froom. But not for his work with Costello. I love Froom because he wrote the soundtrack to the futuristic pornographic film, “Cafe Flesh”. I bought that soundtrack. I loved it. I wish I could find it. I loved that an adult film HAD a soundtrack released, or at least music from it.

The edgy, pseudo New Wave sounds that Froom put to images of men dressed as mice fucking women dressed as cats is far superior to King of America.

Most reviews I read mark this record as a high point of Elvis' career. I say it's more harmless than it is fantastic.

One last thing. I will try to include it here because it bothers me SO much. “Little Palaces” is an almost note for note rip off of Warren Zevon's “Roland the Headless Thompson Gunner”. That steal is obvious and unforgivable.”

Okay. That was then. This is now. 
All that said, the older, more mature, more sedate, settled me, found more to like this time around. Which sort of proves my point. This is Elvis for oldies. 


The 1986 Listening Post - Jackson Browne - Lives in the Balance

Jackson Browne - Lives in the Balance



#51/1218
February 18 1986
Jackson Browne
Lives in the Balance
Genre: Rock
4.5 out of 5 (I know. Crazy, right?)


Highlights:
For America
In the Shape of a Heart
Lawless Avenue
Lives in the Balance

In the summer of 1986 I was living in an apartment on 10th and Hudson along with my college roommate and his girlfriend (also a college peer). 
Well, it was an apartment but I didn’t get to use most of it. There were 2 rooms, a living space, buffered by diffused french doors and a kitchen/dining space with a bathtub/shower in it. In other words, if you wanted to shower, you had to do it in the kitchen. The toilet was in a little closet with a sink. 
On the other side of the apartment, to the left of the front door was a closet. About 6 feet deep and 3 get wide. 
I put a mattress on the floor in there, along with a small tv I found on the street on the lower west side that could only be turned on by sticking a pen in and pulling out the mechanism that operated the set. 
It was a long summer. 
We lived above a temporary Statue of Liberty store as it was the 100th anniversary of the statue and it was being refurbished. If you went to the roof of the building (we lived on the 5th floor and it was a walk up) you could see the Statue in the distance. 
We spent more time up the street at the White Horse Tavern, though. 
I am reminded of this time, when a rat peeked its head out of the hole in the sole of my Beetle Boot as it rested next to my pillow, because the cover of this Jackson Browne record is Liberty’s head obfuscated by, what looks like, scaffolding. Which is ominous because it also doubles for a ramshackle cage built around freedom, which is how so many of us felt in 86.


I’ll say this for aging rock stars in 1986, they were unafraid of voicing their anger and enmity to the wrongs they perceived being done to the country by Reagan. 
Browne gets overtly political and I’m sort of here for it. “Lives in the Balance” is as relevant to today’s issues in Syria with Turkey as it was when it was written.

“In the Shape of a Heart” is devastating. And I wonder if Ani Difranco had heard it before she wrote “Out of Range”. Specifically this lyric: “There was a hole left in the wall
From some ancient fight
About the size of a fist
Or something thrown that had missed
Brutal. 

I like this record as much as a middling Rick Springfield joint. Maybe a little more, in fact. 


The 1986 Listening Post - King Diamond - Fatal Portrait

King Diamond - Fatal Portrait



#50/1217
February 17 1986
King Diamond
Fatal Portrait
Genre: Metal
4 out of 5


Highlights:
The Portrait
Dressed in White
Halloween


I almost forgot about high pitched Halford-ing shriek vocals. I kind of missed them.
Side One + one song is a concept half-album:
From Wikipedia: “Five songs on this album (first four and "Haunted") form a short story. Narrator sees a face in "every candle that [he] burns". This face speaks one word to him: "Jonah". So he finds an old book, speaks a rhyme and frees the spirit from the candle. It's the spirit of a little girl named Molly, who tells him her story, that happened seven years before. Mrs. Jane kept her 4-year-old daughter Molly in the attic until she (Molly) died. Before, Mrs. Jane painted Molly's portrait and put it above the fireplace, so that Molly would become immortal; however, Molly made the portrait speak to her mother, so that Jane would know about Molly's pain. Mrs. Jane then speaks a rhyme and burns the portrait. A free spirit of Molly returns to haunt her until she goes insane.”

I didn’t really follow it. But it’s pretty noodle-y and metallic. “Dressed in White” is mayhem and I loved it. 


The 1986 Listening Post - Electric Light Orchestra - Balance of Power

Electric Light Orchestra - Balance of Power



#49/1216
February 17 1986
Electric Light Orchestra
Balance of Power
Genre: Rock
2.75 out of 5

Highlights:
Heaven Only Knows
Endless Lies



ELO is the Bee Gees of ABBA of the Beatles. 

Like so much of Jeff Lynne’s stuff, this gobbles slavishly at the altar of The Beatles. Had they never broken up, Jeff would have had nothing to do. Because, eventually, all of their stuff would have sounded like this. Treacly tracks hemorrhaging with overproduction, nostalgic for their most influential days. 
“Getting to the Point” would have been heralded as “a return to form for McCartney and the boys!”. But that’s not a good thing. 
I did quite like the Roy Orbisonian looniness of “Endless Lies”, tho. 


The 1986 Listening Post - Brian Setzer - The Knife Feels Like Justice

Brian Setzer - The Knife Feels Like Justice



#48/1215
February 14 1986
Brian Setzer
The Knife Feels Like Justice
Genre: Rock
3.75 out of 5

Highlights:
The Knife Feels Like Justice
Radiation Ranch
Aztec



Is it Bryan Adams? Tom Petty? John Mellencamp? Jon Bon Jovi?
Nope. It’s genre hopping guitar god Brian Setzer. 
The thing about Setzer that always struck me was just how good he thinks he is. But not in a Malmsteen way. He really likes himself. And he likes playing that 6 string. 
Just like Springsteen went country this year and Billie Joe Armstrong went full on Everly Bros a couple years back, Setzer sets his sights on the roots of rock and roll and runs it through his fingers and what comes out is Stadium Rock. 
I’ve never had any issue with Setzer’s voice, although I think he strains to sound like he can actually do it or his songwriting, though everything that comes out of him is so obviously influenced by others so I have no truck with this, either. But for all those reason I can’s say it’s great. I’m glad I heard it, since I have a big Setzer hole between the first Stray Cats and The Dirty Boogie. But it’s just a notch below JBJ’s faux-country that’s on the horizon.  Sometimes he actually sounds like Psychedelic Furs (“Chains Around Your Heart”) other times like The Alarm (“Aztec”) or Springsteen (“Breath of Life”) but he has no identity of his own. 


The 1986 Listening Post - My Dad Is Dead - ...And He's Not Going To Take It Anymore

My Dad Is Dead - ...And He's Not Going To Take It Anymore


#47/1214
February 14 1986
My Dad is Dead
…And He’s Not Going to Take it Anymore
Genre: Indie
3.5 out of 5


In 1999 I was living alone in a little apartment in West Hollywood. “Haven Villa”, it was called. It still is. Some of the residents of that rent controlled place still live there, paying depressed rents for the last 20+ years, hanging out by the pool, no idea how great they have it. Or they do and they are soaking it in. 
I was newly divorced, my daughter was back in my life, everything laid out before me. And I lucked in to a booking. I was cast as one of the characters in a series of spots for 1-800-COLLECT with Damon Wayans and Ed O’Neill. We did 2 spots and they ran all the freaking time. My mailbox would overflow with residual checks. This was right at the end of that era and I think I had earned six figures in the first 4 months the commercial was on the air. 
One of the first things I did was buy some music equipment. Not the best stuff because, I was also bad at investing my money and I had my identity stolen and couldn’t recoup the money…it was a long story. But one you hear about all the time. I bought a new guitar. A red Hoehner. It was gorgeous. My son would eventually break the neck on it and then again after it was repaired. But I did get a good 10 years out of that thing. And an amp. Which would be stolen out of the car of one of my back up singers when I lent it to her…Ah well. I didn’t use it much anyway once the band told me that I should stop playing since I was terrible. 
But before all that, I bought a 4 track recorder. Not an expensive one. And a shitty mic. Not a good one. 
And I would record in the dining space of that little apartment, to the dismay of my neighbors who stayed home during the day. One of them would go on to sell an unproduced Wonder Woman screenplay but he really didn’t mind my warbling. And the upstairs neighbor hate any noise that wasn’t created by or for him so he would eventually take me to Dispute Resolution Services who told him, “Seriously, if you don’t want noise during regular hours, you should move ti Iowa.”
To which he responded. “I’m from Iowa.”
He was an asshole. 
I wrote a bunch of the early Throttle Back Sparky songs in that room on that 4-track. It was great. 
None of them as dark or weird or nihilist sounding as My Dad is Dead. But, with that name, what could you expect. 
I love stuff like this. Daniel Johnston. Mark Edwards. John Darnielle. They just HAD to write and record stuff. It’s in them. It had to come out.
I wrote all of my songs between 1998 and 2004. The darkest time of my life up until the best times of my life. It’s appropriate that much of it came in the shadow of my divorce, custody battles, and then, at the end of all that, the love songs and paeans I wrote for my new wife and daughter. 
That’s what 4 tracks are for. 
And shitty rent controlled apartments. 

There’s a ton of stuff here. From Joy Division to Indie Rock to Sonic Youth. It’s an amalgamation of sounds bubbling in the mid 80s.


The 1986 Listening Post - Screaming Trees - Clairvoyance

Screaming Trees - Clairvoyance


#46/1213
February 16 1986
Screaming Trees
Clairvoyance
Genre: Psychedelic Garage
4.25 out of 5


Highlights:
Orange Airplane
Forever
Lonely Girl
Clairvoyance

It was right around “Forever” that it hit me: These guys wanna be The Doors if the Doors were a garage band (and they were, weren’t they?) that was trying to merge that sound with, say, Strawberry Alarm Clock.
I know I labeled this Psychedelic Garage but, it’s really…Grunge, isn’t it? I mean, this is early early Grunge, no? Proving that the Grunge movement was really steeped in 60s psychedelia more than anything else. 
Having never heard Screaming Trees I always got them confused with some other bands of the era, whose names escape me right now. I look forward to more from these guys. 



The 1986 Listening Post - The Golden Palominos - Blast of Silence

The Golden Palominos - Blast of Silence


#45/1212
February 13 1986
The Golden Palominos
Blast of Silence
Genre: Hodgepodge
3.5 out of 5



I’m not entirely sure what’s happening here. Is Anton Fier influenced by whomever he works with (Like Stipe on the last record or Lovett here) OR does he write in a style and hire people to fit that style?
I don’t know. 
The songs here are so obviously reaching for commerciality that I can’t get past that. 
They aren’t good. They aren’t bad. They are just there. And considering that last record, it’s a damned shame. 
Blegvad is here. Holsapple. Matthew Sweet. 
All the songs are fine. But they are really anonymous.



The 1986 Listening Post - Violent Femmes - The Blind Leading the Naked

Violent Femmes - The Blind Leading the Naked


#44/1211
February 12 1986
Violent Femmes
The Blind Leading the Naked
Genre: Indie
4 out of 5


Highlights:
Old Mother Reagan
No Killing
Faith
Breakin’ Hearts
I Held Her In My Arms
Cold Canyon



“I can't even remember if we were lovers, or if I just wanted to but I held her in my arms but it wasn't you”


I can’t express how excited I was to get this record. To this day I use the title as a reference instead of “blind leading the blind”. 
And I was crushingly disappointed. In 1986. And I haven’t listened since.

First off, it starts off with the most blazingly assertive Gano has ever sounded. Indie music as protest that…is over in 30 seconds…what?
Then comes “No Killing” and it’s obvious that this album is supposed to be a statement. The first was an adolescent’s primal scream of frustration and the second was the songwriter working out his classic religious upbringing. This album adds political awareness to the hodgepodge (“Old Mother Reagan”, “Children of the Revolution”). “Faith” could’ve fallen off Hallowed Ground or been a response to the darkness of that record. In any case, it’s a neat little gospel piece that pours the politics into the religiosity(Although I think Gordon would do better with the Mercy Seat later…and Jerry Harrison’s production is flat). And “I Held Her In My Arms” is romantic frustration but with…horns?
And then…
It happens in every band. There’s one primary songwriter…maybe two. And then, the bassist says, “I have a song.” and then the drummer. And then, before you know it, you’re Weezer’s Red Album. 
That happens here on 1 track. “Love and Me Make Three” is Richie and DeLorenzo’s contribution and then you learn why they don’t have any other contributions. It seems to have infected Gano, cuz, “Candlelight” is awful. Or maybe they shoved that song there cuz they figured you’re gonna skip the aforementioned, skipping two is not much of a leap. And then you get to flip the record over and get to better shit. 




Wednesday, October 16, 2019

The 1986 Listening Post - Pallas - The Wedge

Pallas - The Wedge



#43/1210
February 10 1986
Pallas
The Wedge
Genre: Prog Rock
3.25 out of 5




It should come as no surprise that this album, with it’s eyes and aim so transfixed on commercial success (within the parameters that prog-rock can sustain) gets a higher rating than their previous one. I am only human. I am occasionally susceptible to that sort of crass commercialism. 
Trouble is, this time I’m not sure what Pallas wants to convey and they aren’t up to the skill level of Marillion or Rush or even Genesis circa 86 and those guys own this lane. 
So this is just flat. And some of it is just insipid and bereft of ideas (“Imagination”).


The 1986 Listening Post - Stan Ridgway - The Big Heat

Stan Ridgway - The Big Heat



#42/1209
February 10 1986
Stan Ridgway
The Big Heat
Genre: New Wave
3 out of 5

Highlights:
Camouflage

The 80s…
In what I would say has to be the most incongruous record I may have ever heard, New Wave warbler and former Wall of Voodoo leader, Ridgway takes on…Film Noir? 
The thing about Film Noir is right there in the title. It’s supposed to be dark. Moody. And yet, this is about as opposite that as you can get. BUT! It’s ominous. Which, to my ear, lends itself more to cheesy horror films featuring killers in latex. BUT! Noir meant something different in the 80s cuz Ridley Scott’s Blade Runner. 
So, all that incongruity makes for a weird experience that falls just this side of listenability in the Residents realm. 
There’s nothing bad here. And if Stan Ridgway makes your keychains clink, you’ll like it. I think he’s mediocre at best and I find his noise tolerable for about 20 minutes. Which is the length of one side. 


The 1986 Listening Post - D-A-D - Call of the Wild

D-A-D - Call of the Wild


#41/1208
February 6 1986
D-A-D
Call of the Wild
Genre: Cowpunk
3.75 out of 5

Highlights:
Call of the Wild
Marlboro Man
Jackie O
Trucker




I think this band is actually called Disneyland After Dark. 
It’s a Danish band
That plays a nascent form of American music called “Cowpunk”. 
Like, they are earlier progenitors of this form. Sure, it’s been around for a short while but..did it get to Denmark? 
It’s like if Adam Ant or Wall of Voodoo listened to “Ghost Riders in the Sky” and scrapped all other ideas in favor of Country and played it in small clubs in the valley.
These guys take themselves about as seriously as Jon Wayne but their sense of humor is more refined as is their adulation for the form. “Marlboro Man” is an example of this while “Counting the Cattle” sounds like an audition song for Dr. Demento. And the weirdness of “Jacki O” and the disco-country “Trucker” speak to the times. The 80s were weird, man, 


The 1986 Listening Post - Janet Jackson - Control

Janet Jackson - Control


#40/1207
February 4 1986
Janet Jackson
Control
Genre: New Jack Swing
3.5 out of 5

Highlights:
Nasty
What Have You Done For Me Lately

Yes. We are covering this record. For the same reason that we do Madonna. And Run-DMC. And Beastie Boys. And, probably Public Enemy. Some albums are too important to the era and had too much of an impact to ignore. (But I will ardently resist any Paula Abdul records)
Consider these slight detours. But, not really.

To me, Janet Jackson was the kid on Different Strokes and in the Fame TV show. And, since this was coming at a time when my musical snobbery wouldn’t allow for dance music I was only cursorily aware of it. 
While I think the opening track is sort of boring and repetitive and more of a showcase for production it’s important to set the tone for what this record is, which is a breakaway. From the shadow of her brother and the iron fist of her father. It could just as easily be called “Emancipation” and probably would have in the Aughts.
And this is exemplified by the pure ownership of self of “Nasty”, a track that is not only rifftastic but Janet’s sultry, knowing Prince-like vocals are probably the sexiest stuff of its kind to this point in the 80s. And it should be remade for the current climate. Damn, things just don’t change, do they.
As for the rest of it? It’s not that it’s “dated” per se. It’s that the beats and arrangements are so repetitive that it really has no place other than the dance floor, where I bet it killed. 


The 1986 Listening Post - The Firm - Mean Business

The Firm - Mean Business



#39/1206
February 3 1986
The Firm
Mean Business
Genre: Rock
1.75 out of 5


What is it about production on Jimmy Page albums? So much of it comes across as muddy to me. Like there’s too many guitars doubling each other and then Paul Rodgers’ vocals are deep in the mud mix. 
The echo is distracting. It should all be so much cleaner but, everything really just sounds like an excuse for Jimmy to play and have something to sell.
I allllllmost hit the ff button during “Cadillac”. I can’t because of the nature of the project but, ugh, that is one truly ugly piece of excess. 
Look I never really cared for Zeppelin. (Don’t get me started. At least Greta Van Fleet just wanted to SOUND like Zep, not rip off everyone they admired and never pay royalties…but I repeat myself). And Paul Rodgers earned my enmity for that deplorable Queen project. 
This is bloated and bad. 


The 1986 Listening Post - Grave Digger - War Games

Grave Digger - War Games


#38/1205
February 1 1986
Grave Digger
War Games
Genre: Speed Metal
3.5 out of 5


Highlights:
Keep On Rockin’

I’ve heard way too much Grave Digger so I was not looking forward to this one. You know what? It opens with a ton of promise. In fact, I have to admit that I have a special affinity for “Fire In Your Eyes” since I obviously, having never heard it, stole the rhythm riff for my band’s song “Babbling Brooke”. And I loved that song…so…well done, Grave Digger! ;)
Digger has decided to go the full Priest/DC model and they are actually better for it. 
This is a perfectly acceptable speed metal record. But the balladry…guys…you can’t actually, y’know…sing. Don’t.
Lord help me, I actually don’t hate a Grave Digger record.


The 1986 Listening Post - Tim Finn - Big Canoe

Tim Finn - Big Canoe



#37/1204
1986 Housekeeping
Tim Finn
Big Canoe
Genre: Rock
3.75 out of 5


Highlights:
Spiritual Hunger
No Thunder No Fire No Rain




So…Tim Finn wrote this, right? Cuz this is the most listenable Tim’s been in forever. I’m struck by just how much this sounds like Crowded House, not as catchy but the tempos and intentions are so similar. 
I know we are going to get to Neil’s big breakthrough album in a couple months and I kind of wish we had put these back to back. 
All of these songs sound like they were picked up by a scavenging Tim hanging around the studio waiting for Neil to fall asleep so he could grab songs that weren’t going to make it. 
(I hate Tim Finn as longtime LP members know. I truly believe he is responsible for every bad thing Split Enz ever did and it was the best thing Neil ever did when he went on his own)
That said, this is a perfectly fine record. One that sounds like Robert Palmer and Neil Finn got together one weekend and wrote a bunch of songs they would never record. 


The 1986 Listening Post - Mood Six - A Matter of...!

Mood Six - A Matter of...!



#36/1203
1986 Housekeeping
Mood Six
A Matter Of…!
Genre: Psychedelic Mod
4 out of 5



Highlights:
A Matter Of
What Have You Ever Done
Far Away

I liked this one so much more than the previous Mood Six record and, like that one, I think there are some great hipster bands in the aughts who took off from this sound and made some great records (followed by terrible ones).
Like that last one, this is found on the compilation Cutting Edge Retro and, taken as a whole the comp probably rates higher than the individual spins. 
I took some shit for pointing out the anachronism of albums like this before but, look, when Nightmare Of You took this sound and updated it in 2005 it sounded like a fresh take. This album, like The Steppes record, doesn’t do anything new to it. It’s just slavish devotion to a style that we’ve all moved on from. 


The 1986 Listening Post - Game Theory - The Big Shot Chronicles

Game Theory - The Big Shot Chronicles


#35/1202
1986 Housekeeping
Game Theory
The Big Shot Chronicles
Genre: Power Pop
4.5 out of 5 


Highlights:
Here It Is Tomorrow
Where You Going Northern
Erica’s Word
Regneisraen
Never Mind


I was blown away by the first Game Theory album. When that came out, all of the band save for Scott Miller, were jettisoned or left and the new band recorded this one, with Mitch Easter at the helm. 
It’s even more spacey and experimental than the last one, bending the ideas of Power Pop into a Pre-Jellyfish form. 


The 1986 Listening Post - Giant Sand - Ballad of a Thin Line Man

Giant Sand - Ballad of a Thin Line Man



#34/1201
1986 Housekeeping
Giant Sand
Ballad of a Thin Line Man
Genre: Dust Bowl Rock
3.75 out of 5




Highlights:
Thin Line Man
Body of Water




It feels just yesterday we heard the Giant Sand debut. It kind of was since the albums don’t have release dates, just years, they end up in the “Housekeeping” column and this time the sophomore album came up today. 
Once again, this is such an assured record, just like the last one. Dark and sonically epic I am shocked that I never heard of Giant Sand until this project. 
Giant Sand has more in common with Queens of the Stone Age than with virtually any band we think of as “80s”. It could be released in the mid 00s and sound of its time. 
It’s not as great as the first one, but that happens so often I’m used to it. 



The 1986 Listening Post - Gang Green - Another Wasted Night

Gang Green - Another Wasted Night


#33/1200
1986 Housekeeping
Gang Green
Another Wasted Night
Genre: Punk
4.25 out of 5


Highlights:
Another Wasted Night
Alcohol
19th Hole
Eight Ball
Tonight We Rock




This is straight up punk descended from the Stooges (with Motorhead as a spiritual cousin) with just enough rhythm to actual count as nearly melodic at times. 
Their cover of “Voices Carry” are as ramshackle punk as it should be and renders the original null. 
This is just straight up good punk. I wish I had it when I was a kid. But I bet my parents would have been glad that I didn’t.
I decided to listen to the whole release instead of trying to figure out how to put it in order (it was easier where I was). I’m glad I did. The covers are a hoot.